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Janet and Paul Gleeson have filled their south Dorset village house with an eclectic assortment of antiques, modern art and trophies from their travels. The first thing I remember about the house was walking into the drawing room and thinking, “This is fabulous”,’ says Janet Gleeson of the moment she and husband Paul first viewed the house that would become their family’s Dorset home. ‘It was a big step because we had always lived in London. We hardly knew anyone in Dorset and until then we’d worried we were doing the wrong thing. But the children had left home and we wanted a complete change and at that moment the realisation that this was the house was instantaneous – like falling in love.’ The three-storeyed red brick house hides behind a high wall in the centre of a picturesque Dorset village, not far from the coast. It was built c1760, to a conventionally symmetrical Georgian plan. A central corridor once led to the staircase, with two rooms on either side on each floor, and a servants’ attic. ‘Then, in the early 19th century, the owners must have wanted to aggrandise the house, so they added a new wing to the south, moving the front door, and installing a new columned porch made from local Purbeck stone. As a result, the layout became quite unusual. The stairs are now slightly oddly placed off centre, but we have a wonderfully spacious drawing room,’ explains Janet. The house was altered again in the early 20th century, when another wing was added to the north for a larger kitchen and more servants’ bedrooms. ‘It was probably around that time the panelling was installed in the drawing room. It gives the room its richness,’ says Janet. This is the backdrop for paintings that the couple have collected over the years. Janet started her working life at Sotheby’s, later worked at Bonhams and as an editor for Miller’s Guides and now works on the Antiques Roadshow. The couple have always loved going to junk shops, auctions and galleries. ‘Our taste has shifted over the years, from 19th-century prints, watercolours and oils, to more modern works and anything with a local connection. One of our recent additions was a pair of oils of the local coastline by Elizabeth Muntz, an artist who lived in the neighbouring village and is buried in the churchyard.’ Janet is also fond of colonial furniture, having been born in Sri Lanka. ‘The Ceylonese-Dutch cabinet in the hall was inherited from my grandmother, but I bought the 19th-century specimen table that was made in Ceylon (as it was then) in a local sale. The table was in pieces and had to be carefully restored,’ she recalls. The couple also like to contrast old and new, so the door to the drawing room is framed by abstract silk screens by John Hoyland and Albert Irvin that hang above a pair of Georgian-style demi-lune walnut tables. Janet’s career changed direction when she left the salesrooms to become a writer. The study is where much of her working day is spent. Her favourite auction purchase is the huge bookcase that fills one wall. ‘I broke all my own rules – I bought it having not viewed the sale, on the telephone. I had measured the wall where it was to go, but I forgot to allow for the fact the skirtings protrude by several inches. I realised this only when the bookcase was delivered and we started to install it. Fortunately we were able to unscrew an electric socket and squeezed it in. It now looks as though it was made for the room!’ The couple are keen travellers and mementoes of various trips are dotted throughout the house. A model sailing ship in the dining room provides a dramatic focal point at one end of the room. ‘It isn’t as old as it looks. We bought it 10 years ago, in Hôi An in Vietnam. We went into a workshop – I thought we were going to buy a small carving, but Paul saw this and had it shipped over, saying he would keep it in his office. It was so big it wouldn’t fit, so here it has been ever since,’ says Janet. Upstairs, the bedrooms are furnished in a traditional style, with heavy linen curtains, antique and vintage furniture, some bought at auction or from dealers and other pieces inherited. ‘Our friends and children, who are all based in London, are always coming to stay. Our daughter was married in the garden, and now there are grandchildren too. The house has been perfect for gatherings and is so much a part of our family life it’s hard to remember a time when we didn’t live here. But recently we’ve had the urge for a new challenge, so we are moving to a derelict medieval barn, which in time we’ll turn into a very different home.

A design team breaks with tradition to build a lakehouse thatshows cottage style in a whole new light. NOT LONG AGO, even newly built cottages favoured a more traditional style, with lashings of gingerbread trim and smaller windows. The results were charming and cosy, butthey also tended to be dark and disconnected from the landscape. So when a couple with grown children who had children oftheir own confessed to Margot Bell and Dasha Ricci of Peaks & Rafters thatthey were ready to replace their family cottage with a design that emphasized light as well as the rugged surroundings,the designers, who specialize in cottage properties, immediately understood. “This was a dream projectfor our clients,” says Dasha. “They wanted something more contemporary.” Since they gravitated toward a modern look, Margot suggested Toronto architect Peter Berton of +VG Architects, whose contemporary sensibility matched the dynamic spirit ofthe project. The new onestorey cottage on Muskoka’s Lake Joseph has a low profile thattucks under a canopy oftrees and hugs the rocks. Peter calls itthe “Bridge House,” a reference to the suspended Muskoka room thatlinks the guest wing to the main cottage. To access the lake, one descends a stairway and passes underneath the room — a pathway that encourages a shift in mind-set. “It delineates a line between the urban life they’ve left behind and cottage life,” says Peter. “There’s a looking glass thing that happens, like you’ve crossed a threshold.” Margot points out that the walk is just as moving in reverse. “The cottage is equally beautiful when you walk up from the water,” she says. The interior’s expansive windows, complemented by natural materials and ample glazing, give the impression of being outside when indoors. “Even when it rains here, it’s bright without lights,” says Peter. “You can still see the lake — you can see everything.” A predominantly white palette enhances the effect and creates a loft-like gallery feeling, especially with the clients’ extensive art collection. The kitchen boasts sleek white, wood and steel cabinets from Italy, and contemporary and mid-century modern furnishings accent porcelain tile floors that have the look of polished concrete. “Contemporary style can be a little cool and daunting,” says Margot. “We tried to keep the warmth. Even though there’s steel and concrete, the cottage connects you to the outdoors and feels friendly.” Creating thatfeeling was key for the owners, who often entertain friends and family. “When they have a party, people floatfrom the cottage to the patio to the boathouse,” says Margot. “The property is beautiful for that kind of easy summer entertaining.” Setting the mood is as simple as taking a stroll under the bridge.

LYNDA REEVES EXPLORES A RECIPE THAT MIXES IT UP. Kitchen design has a way of bringing out strong opinions in many of us. Everyone has their view on exactly what they don’t like, plus a list of things they’re considering but wonder about. The investment is always big and the results permanent, so deciding what materials to use is especially critical in a kitchen renovation. Inevitably, the kitchens I gravitate to are handsome, with some classic detailing, heavy polished hardware, some feature appliances like a great range, a mix of painted and natural wood cabinets and always counters and backsplashes of natural stone — soapstone, granite, slate or marble — plus oiled or varnished woods. For the longest time, I’ve only ever considered real marble with a honed or half-honed finish for my own kitchen designs. Believing that imperfections and the inevitable scratches and stains would only enhance the patina of honed marble counters, I wouldn’t even consider a man-made alternative. But then, I also thought that jeans had to be 100 per cent cotton denim with no synthetic mix, and only pure linen pants would do, no matter how much better a little bit of Lycra could make them fit. I’ve totally changed my tune, just in time to avoid a dinosaur designation, because not seeing the huge advantages of today’s alternative materials would be crazy. Engineered stone is any man-made materialthat mimics stone. Itincludes brand names such as Caesarstone and Silestone, both manufactured from quartz and resin. The advantage to these surfaces is that they aren’t porous so they don’t absorb liquid, they don’t stain and rarely scratch, and they come in a huge number of great finishes with a wide range of textures and colours, including subtle shades from nature. You can create a larger surface with no seams than you can using natural stone. Even the biggest real marble slabs won’t cover a whole kitchen without multiple seams. The granddaddy of all composite solid surfaces is Corian, DuPont’s brand name for its groundbreaking material that debuted in 1971, which is now offered in more than 100 colours and can be installed to look virtually seamless.

A relaxed approach to contemporary coastal style brings a sense of ease to this Palm Beach estate. Cocktail dresses and formally arranged table settings are one way to throw a party, but sometimes entertaining is about inviting your guests to kick their feet up on the ottoman, throwing open the French doors to welcome in the breeze, and sharing wine and conversation while you chop vegetables at the kitchen island.That laidback—yet still elegant—approach to entertaining is exactly what interior designer Jennifer Knowles envisioned when she outfitted the interiors of this waterfront Florida home built by Malasky Homes. “Palm Beach has very classic leanings, and the people here love to entertain,” Knowles says. “We wanted to be in keeping with that classic approach while bridging the gap between casual and formal.” The inviting atmosphere begins at the front entrance, where guests are greeted by a “welcoming arms” staircase, a hallmark of the Bermudan architectural style that defines the home’s exterior. Inside, lengthy rooms, such as the 32-foot-long formal living room, are divided into intimate groupings to facilitate conversation. Generous windows, French doors, and balconies offer remarkable views of the Intracoastal Waterway on three sides and welcome the Florida sunshine into every room. “The entire house truly is awash in light,” Knowles says. “It doesn’t matter what time of day you’re there.” Rich millwork details and intricate ceiling treatments draw the eye upward to visually expand relatively low ceilings, a height requirement set by Palm Beach’s architectural review board. In fact, the first-floor ceilings top off at just a little under 10 feet, but exquisite millwork—such as the Art Deco-inspired pattern on the living room ceiling—stretches the visual height of rooms. Though the details are elaborate, Knowles achieved a crisp, clean look by painting each ceiling white. Walnut herringbone floors and tailored furnishings reinforce the home’s classic sensibility, while dashes of modern flair, supplied by abstract art and polished-nickel accents, prevent the home from feeling too traditional. “Mixing contemporary touches with classic lines keeps it fresh and timeless,” Knowles says. The result is a home that effortlessly toggles between black-tie events and impromptu gatherings with friends. “You’re sitting on the sofa looking out to the pool, then beyond to the water and the beautiful boats,” Knowles says. “You put your feet up on the upholstered ottoman and you just don’t want to leave.  

A relaxed approach to contemporary coastal style brings a sense of ease to this Palm Beach estate. Cocktail dresses and formally arranged table settings are one way to throw a party, but sometimes entertaining is about inviting your guests to kick their feet up on the ottoman, throwing open the French doors to welcome in the breeze, and sharing wine and conversation while you chop vegetables at the kitchen island.That laidback—yet still elegant—approach to entertaining is exactly what interior designer Jennifer Knowles envisioned when she outfitted the interiors of this waterfront Florida home built by Malasky Homes. “Palm Beach has very classic leanings, and the people here love to entertain,” Knowles says. “We wanted to be in keeping with that classic approach while bridging the gap between casual and formal.” The inviting atmosphere begins at the front entrance, where guests are greeted by a “welcoming arms” staircase, a hallmark of the Bermudan architectural style that defines the home’s exterior. Inside, lengthy rooms, such as the 32-foot-long formal living room, are divided into intimate groupings to facilitate conversation. Generous windows, French doors, and balconies offer remarkable views of the Intracoastal Waterway on three sides and welcome the Florida sunshine into every room. “The entire house truly is awash in light,” Knowles says. “It doesn’t matter what time of day you’re there.” Rich millwork details and intricate ceiling treatments draw the eye upward to visually expand relatively low ceilings, a height requirement set by Palm Beach’s architectural review board. In fact, the first-floor ceilings top off at just a little under 10 feet, but exquisite millwork—such as the Art Deco-inspired pattern on the living room ceiling—stretches the visual height of rooms. Though the details are elaborate, Knowles achieved a crisp, clean look by painting each ceiling white. Walnut herringbone floors and tailored furnishings reinforce the home’s classic sensibility, while dashes of modern flair, supplied by abstract art and polished-nickel accents, prevent the home from feeling too traditional. “Mixing contemporary touches with classic lines keeps it fresh and timeless,” Knowles says. The result is a home that effortlessly toggles between black-tie events and impromptu gatherings with friends. “You’re sitting on the sofa looking out to the pool, then beyond to the water and the beautiful boats,” Knowles says. “You put your feet up on the upholstered ottoman and you just don’t want to leave.  

A thoughtful renovation finds the sweet spot between architectural heritage and modern-day convenience. Ben and Jenna Sietsema’s newly purchased 1921 Dutch Colonial had a lot going for it— especially if you didn’t venture inside. Located on a channel between two lakes and backing up to 12 acres of wooded park, the house with its barnlike gambrel roof and flared eaves turned heads in an East Grand Rapids, Michigan, neighborhood of traditionalstyle homes. “The lines of the home were just terrific, so the goal was to keep the exterior as close to the original as possible while updating the interiors,” says interior designer Jean Stoffer, who teamed with architect Jeff Visser on the project.The directives: Play up the farmhouse feel in a light-filled, modern way and connect the interiors with their nature-rich surrounds. New shutters, copper gutters, asphalt shingles, and a front porch honor the architecture’s roots, while a fresh coat of black paint on the rebuilt sunroom and window muntins provides a subtle modern twist. Determined to minimize additions, Visser bumped out the garage to add a large mudroom, then reconfigured space (including a large 1990s addition) to improve flow. Updating the back exterior with three sets of French doors, a screen porch, and an outdoor kitchen achieved the couple’s desire to better engage the house with the land. Inside, Stoffer balanced requests for welcoming, kid-friendly spaces with Jenna’s modern preferences and Ben’s rustic bent. Reclaimed beams kick-started the design, bringing a warmth that made Ben and Jenna feel at home. Engineered European white-oak floors, worryfree quartz countertops, and fingerprint-disguising navy kitchen cabinetry bolster a stylish yet carefree mood. Throughout the home, design dances between classic and modern. Inset flat-panel kitchen cabinetry, wall moldings, and a limestone fireplace keep one foot in the past; a stunning waterfall countertop, a mix of dazzling light fixtures, and a palette of charcoals, blues, and greens move to a more contemporary beat. “What we really enjoy about the house is that it’s sophisticated in some ways, yet at the end of the day it is warm and practical—not pretentious,” Ben says.

Designer Brian Gluckstein outdoes himself with a must-see showhome that holdsthe promise of life well lived. Like the glamorous lead in a classic Hollywood film,this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring firstimpression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, butis careful notto give away too much,too fast. From the extratall foyer justinside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward untilthe 6,700-square-foot home’s elegant main floor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lotin a leafy neighbourhood of south Oakville, Ont.,the five-bedroom,two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic floor tiles in the foyer. Grey-washed white oak floors with a scraped finish quietly tie together the showstopping elements.

Designer Brian Gluckstein outdoes himself with a must-see showhome that holdsthe promise of life well lived. Like the glamorous lead in a classic Hollywood film,this year’s Princess Margaret Cancer Centre Home Lottery Showhome makes an alluring firstimpression: it greets you in a dramatic fashion and dazzles you with gorgeous looks, butis careful notto give away too much,too fast. From the extratall foyer justinside the front door, a tiger-print rug worthy of Lana Turner can be glimpsed in the home office across the hallway. “It’s similar to a carpet I had in my New York City apartment years ago,” says designer Brian Gluckstein. The scene beckons visitors forward untilthe 6,700-square-foot home’s elegant main floor is revealed through a procession of grey-trimmed archways. “The house is quite open, but I didn’t want you to see everything as soon as you walk in,” says Brian. In design, as in the movies, a little mystery goes a long way. Set on a corner lotin a leafy neighbourhood of south Oakville, Ont.,the five-bedroom,two-storey house is loosely inspired by French Normandy style. In less than eight months, Brian expertly tempered the interior’s open layout by creating defined living spaces with purpose. He pulled in some walls (to create a centre courtyard) and pushed out others (the great room is generously sized and self-contained), varied ceiling heights and balanced bright, lofty spaces with cosy, moodier rooms. Nearly every surface received its own treatment, from washable murals in the kitchen to a grey wall covering on the dining room ceiling to graphic floor tiles in the foyer. Grey-washed white oak floors with a scraped finish quietly tie together the showstopping elements.

Try finding a dangerous read once your home is set in between Lincoln Greens Golf Course in the front and Lake Springfield in the back. In addition to the prime location, the house owner was drawn to the home’s fashionable up to date feel and open plan. “It jogged my memory a great deal of a Calif. home,” he says. And he would recognize, having settled from the West Coast before going in the house in Springfield, Illinois. mercantilism the beach for a lake, his home showcases elevated fashionable style within the geographic area — and 3 times more room. Recently restored, the house had a fresh base and was conjointly a blank slate. designer Celtic deity Glover was brought in to leverage the open layout that conjointly embraced the good outside views. “My conception was to make a classy lake house that had to reply to the geographic area,” says Glover. At over four,000 sq. feet, the home’s spacious floor arrange offered distinctive style opportunities. Glover wanted to “create meaty areas” that had interest and temperament. She was aware of creating space perimeters that were distinctive however didn’t feel boxed in. Glover used strategic furnishings placement to produce a spoken language space in the living space, that options a lounge arrangement of a restful female internal reproductive organ chair, sectional and facet tables that square measure unified in their shared mid-century style. a space divider screen set behind a settee creates a boundary between the front room and room. manufactured from cerused teak wood, the divider will its job of being a barrier while not utterly breaking the flow. The infusion of color in the home reflects the perform of every area. The main bedroom options slate grey walls to bring home the bacon a masculine and urban feel. whereas the muted tone fosters the intimate area of a non-public sleeping room, Glover injects attractive tones into common areas such as the nice and cozy earthenware color the basement room. The eating space is that the homeowner’s favorite area and most effectively options Glover’s intent to strike a singular style balance. “My goal was to produce a style that was fashionable however snug, luxurious however casual,” she says. Grounded by a geometric wool space furnishings, the space is anchored by a slim, walnut table that elongates the space. The multi-armed, antique brass pendant captures the up to date spirit of the area. Glover knew it was vital to give some visual relief from the clean lines and squares that square measure customary in fashionable style. Her efforts to add geometric selection throughout the home square measure evident in the curvature of the spherical front room low tables, globes within the eating space pendant and even the undulating wave style of a counter.